Afterall: A Journal of Art, Context, and Enquiry volume 24 by Ellen Blumenstein, Jean-Louis Comolli, Céline Condorelli,

By Ellen Blumenstein, Jean-Louis Comolli, Céline Condorelli, Doris von Drathen, Nuria Enguita May,

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Extra info for Afterall: A Journal of Art, Context, and Enquiry volume 24 Spring 2010

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Here off-screen space is positioned — we might almost say surveyed — even as the bulldozers lay it to waste. The bedroom functions as the on-screen and the neighbourhood as the off-screen. It has a face, a form, a design, a destiny; this is why I spoke of it as a character. The off-screen space of the bedroom loses any dimension of invisibility, apart from the shadows filling it. I would say, without fear of ridicule, that here the off-screen becomes visible. The film’s cleavage into two scenes, the neighbourhood and the bedroom, turns each into the other’s off-screen space.

15 In the light of the aforementioned four phases of realism, I would describe Costa’s digital realism as follows: (1) It is explicitly bound to an intimate and collective production process that guarantees a proximity and forms of collaboration that would not be conceivable without a small camera and practically unlimited stock. ) Digital production thus is the primary precondition for films such as the ones Costa has been making over the last ten years. (2) The integrity of the indexical process has been much contested in digital imaging, yet, as I would argue, in Costa’s Fontainhas films the ontological doubt that has infested discussions about the potential manipulations of digital images does not really carry weight; it is more than compensated for by the testimonial powers of the lens and the optical apparatus.

Isolated in one of the large, light-filled and very painting-friendly galleries of the Museum Fridericianum in Kassel, several of his large canvases were positioned in the literal centre of the city-wide presentation. (Another large space in the museum was devoted to Gerhard Richter’s photo-based Atlas [begun 1964], while Robert Ryman wasn’t included after all, and Sigmar Polke never submitted his required ‘proposal’. 129. Kerry James Marshall | 73 space that was more hallway than gallery. 2) Why Marshall’s paintings alone were afforded such respectful treatment remains unknown, but I recall thinking at the time that there was no way that David would have had the nerve to stick these particular works of Marshall’s in a hallway.

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